Conned out of his money and land, Hard Luck Yancey stumbles upon black Telluride gold beneath a Sisters of Charity miners' hospital, a discovery that pits him against ruthless mining barons and greedy outlaws.

A riveting story of feuding brothers in a fight to the death from an early master of the western genre. Years ago, Owen Daybright was an orphan on a railroad crew when old Arch Stobie took him under his wing at the Acorn ranch. He needed the quiet, hardworking Owen for a special job: to act as a friend and be a calming influence on his fiery-tempered son, Lee. But, instead, the boys showed an immediate hatred for each other that never waned. Only out of loyalty to Arch did Owen cover for Lee’s stupidity and carelessness. But now Lee’s crossed the line. There are some angry men after him for disgracing their sister. And he’s put a target on Owen’s back. Unless Owen is very fast and very careful, he’s going to end up taking a bullet for the brother he’d like to kill himself. Luke Short, a winner of the Levi Strauss Golden Saddleman Award from the Western Writers of America, blazed the trail for authors such as Louis L’Amour and Elmore Leonard. Vengeance Valley is one of his most compelling tales of western adventure.

Lists writers of western fiction, with a biography, a bibliography of the writer's works, and a critical essay on each writer. Sometimes comments by the author himself are included.

Contains alphabetically arranged entries that provide information about nearly five hundred twentieth-century writers of Western fiction, each featuring a biography, a bibliography, a signed critical essay, and, in some cases, comments from the author. Includes a title index.

Startlingly handsome, witty, fanatically loyal, charming, scary, and intensely sexual, Burt Lancaster was the quintessential bête du cinéma, one of Hollywood's great stars. He was, as well, an intensely private man, and he authorized no biographies in his lifetime. Kate Buford is the first writer to win the cooperation of Lancaster's widow, close friends, and colleagues, and her book is a revelation. Here is Lancaster the man, from his teenage years, bolting the Depression-era immigrant neighborhood of East Harlem where he grew up for the life of a circus acrobat -- then the electric New York theater of the 1930s, then the dying days of vaudeville. We see his production company -- Hecht-Hill-Lancaster -- become the biggest independent of the 1950s, a bridge between the studio era and modern filmmaking. With the power he derived from it we see him gain a remarkable degree of control, which he used to become the auteur of his own career. His navigation through the anti-Communist witch-hunts made him an example of a star who tweaked the noses of HUAC and survived. His greatest roles -- in Sweet Smell of Success, Elmer Gantry, Birdman of Alcatraz, The Swimmer, Atlantic City -- kept to the progressive edge that had originated in the tolerant, diverse, reforming principles of his childhood. And in the extraordinary complete roster of his films -- From Here to Eternity, Gunfight at the O.K. Corral, Judgment at Nuremberg, The Leopard, 1900, and Field of Dreams, among many others -- he proved to be both a master of commercial movies that pleased a worldwide audience and an actor who pushed himself beyond stardom into cinematic art. Kate Buford has written a dynamic biography of a passionate and committed star, the first full-scale study of one of the last great unexamined Hollywood lives.

Some issues include separately paged sections: Better management, Physical theatre, extra profits; Review; Servisection.

First published in 1998, music scored for film has only relatively recently received the critical attention which it merits. Many composers in the twentieth century have written works for films or documentaries, a number feeling that this aspect of their output has been undervalued. This dictionary complements other studies which have appeared in recent years which look at the technical and theoretical issues concerned with film music composition. Arranged alphabetically by composer, the volume comprises over 500 entries covering all nationalities. Each entry includes very brief biographical information on the composer, followed by a list of the films (with dates) for which he or she has composed. Details of recordings are also given. The dictionary’s international coverage ensures that it will become a standard reference work for all those interested in the history of twentieth-century music and the development of film.

In the Silent Era, film reissues were a battle between rival studios--every Mary Pickford new release in 1914 was met with a Pickford re-release. For 50 years after the Silent Era, reissues were a battle between the studios, who considered old movies "found money," and cinema owners, who often saw audiences reject former box office hits. In the mid-1960s, the return of The Bridge on the River Kwai (1957)--the second biggest reissue of all time--altered industry perceptions, and James Bond double features pushed the revival market to new heights. In the digital age, reissues have continued to confound the critics. This is the untold hundred-year story of how old movies saved new Hollywood. Covering the booms and busts of a recycling business that became its own industry, the author describes how the likes of Charlie Chaplin, Humphrey Bogart and Alfred Hitchcock won over new generations of audiences, and explores the lasting appeal of films like Napoleon (1927), Gone with the Wind (1939), The Rocky Horror Show (1975) and Blade Runner (1982).